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America's foremost novelist reflects on the themes that preoccupy her work and increasingly dominate national and world politics: race, fear, borders, the mass movement of peoples, the desire for belonging. What is race and why does it matter? What motivates the human tendency to construct Others? Why does the presence of Others make us so afraid? Drawing on her Norton Lectures, Toni Morrison takes up these and other vital questions bearing on identity in The Origin Of Others.
In her search for answers, the novelist considers her own memories as well as history, politics, and especially literature. Harriet Beecher Stowe, Ernest Hemingway, William Faulkner, Flannery O'Connor, and Camara Laye are among the authors she examines. Readers of Morrison's fiction will welcome her discussions of some of her most celebrated books: Beloved, Paradise, and A Mercy. Morrison also writes about nineteenth-century literary efforts to romance slavery, contrasting them with the scientific racism of Samuel Cartwright and the banal diaries of the plantation overseer and slaveholder Thomas Thistlewood. She looks at configurations of blackness, notions of racial purity, and the ways in which literature employs skin colour to reveal character or drive narrative.
Expanding the scope of her concern, she also addresses globalization and the mass movement of peoples in this century. National Book Award winner Ta-Nehisi Coates provides a foreword to Morrison's most personal work of nonfiction to date.
This anthology marks the 55th anniversary of the historic 1962 Makerere Conference of African Literature in Uganda bringing together post-independence African writers many of whom would go on to play major roles in defining Africa’s literary history.
One of them wrote; “we were amazed that fate had entrusted us with the task of interpreting a continent to the world.”
Those who gathered included the Nigerian Nobel Laureate Wole Soyinka, Chinua Achebe, Christopher Okigbo, JP Clark, Kofi Awoonor, Frances Ademola, Cameron Doudu, Lewis Nkosi, Dennis Brutus, Ezekiel Mphahlele, Bloke Modisane, the African American writer Langton Hughes et al. Fifty-five years on, many have joined the ancestors but there are a few survivors who attended the launch of this Anthology at SOAS in London on 28th October 2017.
The third edition of Introduction To English Literary Studies, previously published as Selves and Others, is a guide on how to approach, engage with, and write about literature. Structured into chapters that deal with reading and writing, poetry, narrative, and drama, the book enables students to become successful critical readers of English literature.
The book offers an integrated, progressive introduction to the study of literature in English, creative writing, and literary genres. Critical literacy exercises help students engage with literary concepts and develop their thinking skills. Margin glosses explain difficult terms, while information boxes provide additional contextual information or pose self-reflective questions.
Introduction To English Literary Studies is written for university and university of technology students taking first-year courses in literature and creative writing. It is ideal for both face-to-face and distance education courses.
Ngugi describes this book as 'a summary of some of the issues in which I have been passionately involved for the last twenty years of my practice in fiction, theatre, criticism and in teaching of literature.' East Africa (Kenya, Tanzania, Uganda and Rwanda): EAEP
The most significant nonfiction writings of Zoë Wicomb, one of South Africa’s leading authors and intellectuals, are collected here for the first time in a single volume.
This compilation features critical essays on the works of such prominent South African writers as Bessie Head, Nadine Gordimer, Njabulo Ndebele, and J.M. Coetzee, as well as writings on gender politics, race, identity, visual art, sexuality and a wide range of other cultural and political topics. Also included are a reflection on Nelson Mandela and a revealing interview with Wicomb.
In these essays, written between 1990 and 2013, Wicomb offers insight on her nation’s history, policies, and people. In a world in which nationalist rhetoric is on the rise and diversity and pluralism are the declared enemies of right-wing populist movements, her essays speak powerfully to a wide range of international issues.
A debut collection of fierce, funny essays about growing up the daughter of Indian immigrants in western culture, addressing sexism, stereotypes, and the universal miseries of life
In One Day We’ll All Be Dead and None of This Will Matter, Scaachi Koul deploys her razor-sharp humor to share all the fears, outrages, and mortifying moments of her life. She learned from an early age what made her miserable, and for Scaachi anything can be cause for despair. Whether it’s a shopping trip gone awry; enduring awkward conversations with her bikini waxer; overcoming her fear of flying while vacationing halfway around the world; dealing with Internet trolls, or navigating the fears and anxieties of her parents. Alongside these personal stories are pointed observations about life as a woman of color: where every aspect of her appearance is open for critique, derision, or outright scorn; where strict gender rules bind in both Western and Indian cultures, leaving little room for a woman not solely focused on marriage and children to have a career (and a life) for herself.
With a sharp eye and biting wit, incomparable rising star and cultural observer Scaachi Koul offers a hilarious, scathing, and honest look at modern life.
Sol Plaatje is celebrated as one of South Africa’s most accomplished political and literary figures. A pioneer in the history of the black press, editor of several newspapers, he was one of the founders of the African National Congress in 1912, led its campaign against the notorious Natives Land Act of 1913, and twice travelled overseas to represent the interests of his people. He wrote a number of books, including – in English – Native Life in South Africa (1916), a powerful denunciation of the Land Act and the policies that led to it, and a pioneering novel, Mhudi (1930). Years after his death his diary of the siege of Mafeking was retrieved and published, providing a unique view of one of the best known episodes of the South African War of 1899–1902. At the same time Plaatje was a proud Morolong, fascinated by his people’s history. He was dedicated to Setswana, and set out to preserve its traditions and oral forms so as to create a written literature. He translated a number of Shakespeare’s plays into Setswana, the first in any African language, collected proverbs and stories, and even worked on a new dictionary. He fought long battles with those who thought they knew better over the particular form its orthography should take. This book tells the story of Plaatje’s remarkable life, setting it in the context of the changes that overtook South Africa during his lifetime, and the huge obstacles he had to overcome. It draws upon extensive new research in archives in southern Africa, Europe and the US, as well as an expanding scholarship on Plaatje and his writings. This biography sheds new light not only on Plaatje’s struggles and achievements but upon his personal life and his relationships with his wife and family, friends and supporters. It pays special attention to his formative years, looking to his roots in chiefly societies, his education and upbringing on a German-run mission, and his exposure to the legal and political ideas of the nineteenth-century Cape Colony as key factors in inspiring and sustaining a life of more or less ceaseless endeavour.
As children, learning to read, we look first at the illustrations - but how do these tell their stories differently to the words? Words & Pictures explores this question through three encounters between writers and artists. It looks at how artists have responded to two great, contrasting works, Paradise Lost and Pilgrim's Progress; at Hogarth and Fielding, great innovators, sharing common aims; and at Wordsworth and Bewick, a poet and engraver, both working separately, but both imbued with the spirit of their age. A brief coda turns to a fourth relationship: writers and artists who collaborate from the start, like Dickens and Phiz, and Lewis Carroll and Tenniel.
Sometimes amusing, sometimes moving, this is a book to pore over and enjoy. The visions it considers link daily life to the universal, the passionate and the sublime.
Flannery O'Connor spent most of her life in Georgia. Most of O'Connor's fiction is also set in the state, in locales rich in symbolism and the ambience of southern rural and small-town life. Filled with contemporary and historical photos, this guide introduces O'Connor's readers to the places where the great writer lived and worked--places whose features and details sometimes found their way into her fiction.
The guide describes such places as O'Connor's childhood home in Savannah; the Governor's Mansion, Cline House, and Central State Hospital in Milledgeville; and the family farm, Andalusia. Numerous facts about O'Connor and the people closest to her are woven into the site descriptions, as are critical observations about her Catholicism, her acute sense of character and place, and her fierce sense of humor.
Features include: More than fifty full-color contemporary photographs and numerous black-and-white historical imagesAn overview and chronology of O'Connor's life and legacyMaps to sites in Savannah, Milledgeville, and the house and grounds at AndalusiaDiscussions of O'Connor's life and writingsListing of O'Connor's works and suggestions for further reading
All author royalties from sales of the guide will be donated to the Flannery O'Connor-Andalusia Foundation.
Although isolated and detailed analyses of individual texts and paintings form the basis of our scholarly engagement with literature and painting, the simultaneous consideration of text and image yields a richer appreciation of the multi-facetted work of writer and painter, Breyten Breytenbach. This book argues that writing and painting form two manifestations of one and the same creative force, and should be read as such. His imaginary world finds expression in the sister arts, linked in western culture since antiquity: Ut pictura poesis, poetry is like painting. And, by extension, painting is like poetry. Yet, internationally, the substantial body of academic analyses of Breyten Breytenbach’s oeuvre pays scant attention to his painting, limiting our knowledge. If the lines “the hospitals of Paris are crammed with pasty people/standing at the windows making threatening gestures/like the angels in the furnace” will be immediately recognised by any Breytenbach scholar, a major work like L’attrape-pigeon, painted in prison in spite of the formal prohibition on painting, is unknown and would be recognised as a work by Breytenbach by very few (and the story of how the painting got to be made in prison, also remains to be told). The Breytenbach scholar’s musee imaginaire, the museum of works of art that can be called up by the mind’s eye, is regrettably poor. It is my conviction that, in engaging with Breytenbach’s oeuvre, his poems, works of fiction or essays are not more important than his paintings. This would imply that, in spite of the presence of his poetry and prose in school and university syllabi, in spite of the numerous theses on university library bookshelves and in spite of the growing body of literary criticism, his oeuvre has been only partially read, precisely because his painterly oeuvre is not taken into account.
A working father whose life no longer feels like his own discovers the transforming powers of great (and downright terrible) literature in this laugh-out-loud memoir. Andy Miller had a job he quite liked, a family he loved and no time at all for reading. Or so he kept telling himself. But, no matter how busy or tired he was, something kept niggling at him. Books. Books he'd always wanted to read. Books he'd said he'd read, when he hadn't. Books that whispered the promise of escape from the 6.44 to London. And so, with the turn of a page, began a year of reading that was to transform Andy's life completely. This book is Andy's inspirational and very funny account of his expedition through literature: classic, cult and everything in-between. Crack the spine of your unread `Middlemarch', discover what `The Da Vinci Code' and `Moby-Dick' have in common (everything, surprisingly) and knock yourself out with a new-found enthusiasm for Tolstoy, Douglas Adams and `The Epic of Gilgamesh'. `The Year of Reading Dangerously' is a reader's odyssey and it begins with opening this book...
A dazzling account of the development of American cultural hegemony from one of the world's leading literary theorists. Franco Moretti, acclaimed author of Graphs, Maps, Trees and Distant Reading, distils a lifetime of teaching and research to present `the university, in the form of an essay'. Ranging from poetry and the novel to theatre and the visual arts, Far Country juxtaposes canonical figures in American art and letters with European counterparts-Whitman and Baudelaire, Hemingway and Joyce, Miller and Brecht, Hopper and Vermeer-charting ruptures in the medium of form that have transformed the cultural landscape on either side of the Atlantic over the past century or more, as the `how', `why' and `what for' of literature react to the discord of social life.
Where are the dogs in southern African literature? The short answer is: everywhere, if you keep looking. Few texts centralise them, but they appear everywhere in the corners of people's lives: pets walking alongside, strays in the alleys, accompanying policemen, at the dog shows, outhunting, guarding gates. There are also the related canids- jackals, hyenas, wolves-making real and symbolic appearances. Dogs have always been with us, friends and foes in equal measure. This is the first collection of studies on dogs in southern African literatures. The essays range across many dogs' roles: as guides and guards, as victims and threats. They appear in thrillers and short stories. Their complex relations with colonialism and indigeneity are explored, in novels and poetry, in English as well as Shona and Afrikaans. Comparative perspectives are opened up in articles treating French and Russian parallels. This volume aims to start a serious conversation about, and acknowledgement of, the important place dogs have in our society.
The primary aim of this book is to create a literary biography of Sindiwe Magona, a significant black South African woman, whose writings act as a testimony, a historical record, an appeal, and an invitation to experience a culture, literary style and language marginalized by colonization. Magona 's works provide us with a window to the soul of the beleaguered domestic (Living, Loving and Lying Awake at Night), the impoverished single parent (To My Children 's Children), the struggling black woman educator and activist (Forced to Grow), the anguished mother (Mother to Mother), the rape victim (Vukani!), the successful African professional woman battling cultural and patriarchal sexual restrictions that may result in AIDS infection, female subjective states relevant to both the old and new South Africa. The trope of bridge building is a new perspective on her work, which elucidates the current intellectual interest in the literary crossings of the local and global.This publication examines the genre of life writing which validates someone 's lived experiences, provides representation for others enduring similar oppression, and instructs the uninformed about a unique life. The author 's autobiographies, plays, poems, short stories, published and unpublished novels are analyzed through an African feminist lens allowing her literature to reflect their contextualized and localized content.This is a literary biography that places the author and her works within the political and socio-economic framework in which they were written and published. Although consideration is given to her twenty years of voluntary exile, when she lived and worked in New York for the media department of the United Nations translating and disseminating information from South Africa to the world about the oppression of the apartheid regime, special attention is be paid to the nature and impact of her oral and literary voice on the South African and global community as she explicates the issues facing black African women.
An intimate study of three of Ireland's greatest writers from one of its best-loved contemporary voices 'A father...is a necessary evil.' Stephen Dedalus in Ulysses In Mad, Bad, Dangerous to Know Colm Toibin turns his incisive gaze to three of Ireland's greatest writers, Oscar Wilde, W.B. Yeats and James Joyce, and their earliest influences: their fathers. From Wilde's doctor father, a brilliant statistician and amateur archaeologist, who was taken to court by an obsessed lover in a strange premonition of what would happen to his son; to Yeats' father, an impoverished artist and brilliant letter-writer who could never finish apainting; to John Stanislus Joyce, a singer, drinker and story-teller, a man unwilling to provide for his large family, whom his son James memorialised in his work. Colm Toibin illuminates not only the complex relationships between three of the greatest writers in the English language and their fathers, but also illustrates the surprising ways they surface in their work.
Agter hierdie boek lę die verwondering oor ons vermoë om stip na
letters op papier te kyk en dan te ervaar dat ons ’n ander węreld
betree. Hoe kry ons dit reg om na aanleiding van die woorde wat ons
lees, nie alleen inligting te bekom nie, maar ’n hele węreld tot
stand te verbeel en daarheen te reis? Wat is die rol van die teks
hierin? Wat is die rol van die leser? Waarom doen ons dit? Hoe help
’n begrip van ons reise na storiewęrelde om ons “leefwęreld” beter
The Anglo-Boer War of 1899-1902, fought between the pride of the British Empire at the height of its world-wide power and two small rural republics at the tip of Africa, provoked remarkably vehement reactions not only in Britain, but all round the world. Much of this reaction was expressed in verse, most of it subliterary, but some of it such as Hardy’s ‘Drummer Hodge’, putting forward a view of war more akin to Owen’s ‘Futility’ than Tennyson’s ‘The Change of the Light Brigade’. The first chapter of Drummer Hodge traces the growth of pacifist attitudes to war and the compassionate treatment of soldiering in the course of the nineteenth century. Subsequent chapters deal with the imperial theme (much questioned at this time) in Boer War verse; the contributions of writers such as Newbolt, Hardy, Kipling, and AE Housman, as well as that of numerous soldier poets; the effect of the war on the literature of the Boers; Boer war poetry from the United States and the rest of the English-speaking world; and the literary results of the enormous pro-Boer movement in France, Germany and Holland: countries in which the Boer republics were seen as images of a rural simplicity and patriarchal integrity lost in Europe. The work is based on research completed over many years in libraries in South Africa, Britain, France, Germany and Holland, and constitutes an exercise in the comparative history of nineteenth-century English and European war poetry on a scale probably not attempted before.
Totkv Mocvse/New Fire presents the work of Creek (Muskogee) author Earnest Gouge and makes available for the first time--in Creek and English--the myths and legends of a major American Indian tribe. The stories cover many themes, from the humorous allegories of Rabbit, Wolf, and other personified animals to hunting stories designed to frighten a nighttime audience.
PATTERNS ACROSS CULTURES, International Edition is a rhetorically organized reader driven by the principle that as the world gets smaller, students should be exposed to a wide variety of cultural perspectives-both from within the United States and from other countries. Many of the reading selections in the text are by writers who have never been anthologized, providing an invigorating alternative to traditional readers. Post-reading features for each selection, including questions on author's "Meaning," "Technique," and "Language," help students examine how the selection utilizes both the primary mode and other modes as well; calls out key vocabulary terms; highlights thematic connections between selections; and provides prompts for both personal and critical writing. To assist those instructors who prefer a thematic framework for discussing the selections, a thematic Table of Contents and Thematic Links questions connecting each essay with one or more others on similar themes will provide inspiration for theme-based discussions and writing assignments.
From the heartbroken protagonist she depicted in her first published story, "Death of a Traveling Salesman," to the reflective widow she described in her last novel, The Optimist's Daughter, Eudora Welty wrote realistically about the shadows and radiance of love. In a meticulous exploration of this theme, Sally Wolff combines new readings of Welty's fiction with biography and contextual information drawn from Wolff's nineteen-year friendship with the author. A signature image in most of Welty's fiction, the rose imparts symbolic power as it places Welty in the age-old tradition of love literature. Wolff argues that the dark rose-from the height of its brilliance to the end of its life-serves as a deft metaphor for the dichotomies Welty presents, equally suggestive of beauty and sadness, and the comic, tragic, and mysterious qualities of love. While some of Welty's characters are clearly autobiographical renderings-a daughter remembering her parents' marriage, or a broodingly hopeful member of a large family wedding-at other times, Welty analyzes from afar the dynamics of successful and troubled loving relationships. Although Welty fell in love more than once during her life, she never married, and Wolff argues that writing from the vantage point of the unattached gave Welty an objective perspective from which to examine in her fiction the varied dimensions of love. A Dark Rose navigates effortlessly among texts and examines Welty's portrayal of love in all its nuance and intricacy. Though love in Welty's fiction may fail, wear thin, or quietly take the hand of that grimmest of bridegrooms-death-it nonetheless remains a vital force, alive in the heart.
In die afgelope bykans 30 jaar het ’n groot leemte ontstaan aan
omvattende verwysingsbronne en handboeke in die Afrikaanse
taalkunde wat op universiteitsvlak voorgeskryf kan word. In 2014
word hierdie leemte gevul deur Kontemporęre Afrikaanse Taalkunde.
Die feit dat ’n tweede, hersiene uitgawe slegs drie jaar later
verskyn, beklemtoon weereens die groot behoefte aan so ’n bron.
Studies in the Age of Chaucer is the annual yearbook of the New Chaucer Society, publishing articles on the writing of Chaucer and his contemporaries, their antecedents and successors, and their intellectual and social contexts. More generally, articles explore the culture and writing of later medieval Britain (1200-1500). Each SAC volume also includes an annotated bibliography and reviews of Chaucer-related publications.
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